It's football season, which means it's also the season for at least one heartwarming and inspiring movie about the sport. This year the film comes from Universal -- The Express, a biopic of Ernie "The Elmira Express" Davis, the first African-American to win the Heisman trophy, back in 1963. However, the movie divides its time between Davis and his coach at Syracuse University, Ben Schwartzwalder, and shows the ways in which the two characters changed one another (for the better, natch).

The movie opens during the notorious Cotton Bowl game of 1960, when Davis (Rob Brown) was a running back on the Syracuse University team that played The University of Texas, which had not yet allowed black varsity team members. It's a rough game, but Davis is handling himself until all hell breaks loose ... and then we flash back to Davis's childhood in the 1940s and see how he learned to handle nasty racist situations even at an early age. He's stubborn and he's speedy, and eventually decides to use those assets to strive for his goal of playing professional football. His idol, Cleveland Browns running back Jim Brown, advises Davis to play for his alma mater Syracuse because Schwartzwalder (Dennis Quaid) is such an excellent head coach. But Davis encounters difficulties in the ways Schwartzwalder handles the black team members. The coach's primary goal is to avoid "trouble," so they're warned away from the white female students, and worse yet, at certain Southern games they're not allowed to score touchdowns. The real action culminates when the film returns to the Cotton Bowl game in Dallas.

Celebrity interviews can be pretty nerve-wracking. The ante is upped even more when the interviewee doesn't give many interviews. You hope for the best, but sometimes that's not what you get. Xan Brooks got a chance to interview Faye Dunaway for The Guardian, and things didn't go so well. It started with a list of ixnayed topics, but one was left off the list -- Roman Polanski and rumors about Chinatown. He asked if it was true that she once threw a cup of urine at the famed director and well, she didn't take too kindly to that line of questioning. Follow the link to see what happened and then comment below: Was it okay for Brooks to ask her about that? Did she overreact?

And then there's a little bit of tennis. Variety reports that Frank Deford's adaptation of his novel Big Bill: The Triumphs and the Tragedy, which focuses on tennis legend Bill Tilden, has been optioned by Baldwin Entertainment. This is a pretty old-school story -- Tilden won six straight U.S. Open singles titles in the 1920s, and was the first American to win Wimbledon. The plus about this feature: there's a lot more to the man than just rackets and balls. "He was also a contract bridge champ, musicologist, novelist, playwright and actor. On the other side of the ledger, Tilden was famously self-destructive, going to jail twice for sexual misbehavior with teenage boys and dying penniless." That should prove interesting.

Finally, Michael Pena told MTV that he'd definitely be in if a feature version of The Shield, if one was schemed up. In fact, he thinks there could be a prequel and that it would be "awesome." Me, I caught some old-school Felicity eps recently, and now I can't see him as anything other than the wanna-be ladies man who lived in the dorm. He's come a long way in 8 years.

Sports. Aside from being a Huey Lewis and the News album, it's a slice of life that has lived for a long time in contradiction. On the one hand, there's the cud-chewing, testosterone-laden toughness of actual sporting events. On the other, there's the ever-rampant tears pouring out of sports dramas and biopics -- and now we're getting one more ...

But unlike pics that raise you up to a teary conclusion, this new feature looks like it will be a heart-tugger from the get-go. The Hollywood Reporter posts that Ryan Merriman and Aidan Quinn have signed on, with Andie MacDowell in final negotiations, for a new sports drama called The 5th Quarter. Based on a true story, the film centers on the way a young man deals with his brother's death. Basically, after 15-year-old Luke Abbate died in a car crash, his organs were donated to five people. In the wake of this tragedy, his brother (Merriman) got his football jersey changed to his brother's number (5) and then held up five fingers before the fourth quarter of each game, while his parents (Quinn and MacDowell) sat in section 5. See? Tear jerker -- one that might even require more than five tissues.

5th Quarter will also be a film that blends real life with fiction, not in the script, but in the cast and scenes -- the family's pastor is playing himself in the film, and real footage of the games will be edited into the film. Whether this will help or distract from the final product remains to be seen. Production begins this month.

Long ago, before the problems with drugs and fights at strip clubs, Jean Claude Van Damme ripped himself out of the fighting world, oiled up his flesh, and became America's Muscles from Brussels. At first, the process was slow and simple -- breaking into the world of film as "Gay Karate Man" in Monaco Forever, being a background performer in Rue barbare, and then getting some uncredited English work as a spectator in that 1984 classic, Breakin'.

But then came No Retreat, No Surrender, where he played a Russian baddie opposite General Hospital and Guiding Light star Kurt McKinney, and the rest was history. He did all he could do in the action realm -- kickboxing revenge, jail, video game flicks, soldier, and even cracking walnuts with his butt.

These days, he's whipped up an insane amount of positive buzz with JCVD and reinvigorated his career. But it all had to start somewhere. As a well-oiled, good-guy ode to that sexy, muscled Belgian, I give you: Bloodsport and Kickboxer.

*Note: In the interest of good matches, I'm leaving off my all-time favorite Van Damme flick, Cyborg, to get its love another day. Gibson will have his moment to shine!

After winning top honors at the Venice Film Festival, Darren Aronofsky's The Wrestler rapidly became the must-see of the Toronto International Film Festival, with huge lines at the press and industry screening this afternoon seemingly unaffected by the news that Fox Searchlight had purchased the film. After seeing The Wrestler for myself, I feel the need to extend a note of caution about the film, which sailed into Toronto buoyed by advance raves for Mickey Rourke's performance as Randy "The Ram" Robinson, a low-level professional wrestler -- and we soon see how really, both those words could be in quotation marks -- whose '80s glory days are long over, scraping by at low-level, low-paying matches until a heart attack forces him to leave the ring and look at his life in the shadow of death. Many have already written about the parallels between Mickey Rourke and the swaggering, scarred wrestler he plays -- early success, fame and notoriety, a series of mis-steps and mistakes taking it all away bit by bit as the years advanced -- and the charge Rourke's own rise and fall offers a filmmaker like Aaronofsky looking to explore ruin and redemption.

But don't believe the hype -- or, more importantly, look past it; if a complicated, messy personal life were all it took to deliver a great performance, Paris Hilton and O.J. Simpson would have more Oscars than Katharine Hepburn. Rourke's work as Randy is physical, invested, powerful and sprawling -- but it's also quiet, sad and hauntingly wounded, too. And The Wrestler offers viewers far more than just Rourke's performance -- which, it must be said, is excellent -- if they're willing to not flinch from what it has to say: The Wrestler is a fascinating, rich, unblinking look at the dark, hunched mean streak that lies curled and poisonous inside of so much American popular entertainment and of so much American life. It's early to say this, but The Wrestler is one of the most grimly exciting, magnetically repellent movies we've had in a long time; it's flat-out one of the best American movies of 2008.

After a massive, all-night bidding war, Variety's Anne Thompson reports that Fox Searchlight has snagged The Wrestler for roughly $4 million, marking the first big purchase of the 2008 Toronto International Film Festival. Following its Golden Lion win in Venice and a Toronto premiere that left folks buzzing up a storm, Searchlight, along with Overture, Lionsgate, Weinstein Co. and Sony, began bidding on the flick, which some say solidifies a sure-fire Oscar nod for Mickey Rourke. In the end, it would appear that Searchlight won out ... and after a very successful marketing campaign last year for Juno (which landed all sorts of recognition), it should be interesting to see what Searchlight does with this.

So far all the talk has surrounded Mickey Rourke, with folks calling him the comeback kid, what have you -- but not for nothing, I think we have a nice little comeback story for director Darren Aronofsky as well. Great vibes with this one; I look forward to seeing it. Remember when Nic Cage was signed on to this? Heh. Bangkok Dangerous. Double heh. Check out this preview video from Venice, and look for much more on The Wrestler from Cinematical in the next couple of days.

By far, one of the most anticipated movies on the festival circuit this year is Darren Aronofsky's The Wrestler. But many have been wondering why the film had secured such an 'undesirable' closing spot at the Venice Film Festival -- could there be trouble ahead with the finished product? But it looks like all that fretting was for nothing, because Aronofsky updated his personal blog with the news that the only reason for the delay in the selection process was that he was awaiting a completed song from Bruce Springsteen for the end of the film.

The Wrestler is the story of Randy "The Ram" Robinson (played by an almost unrecognizable Mickey Rourke); a former star of pro-wrestling in the '80s who has been reduced to appearing at high schools and community centers. With a heart condition and early retirement looming, Robinson takes one last shot at the 'big-time' in a match against a former rival. I can't say pro-wrestling is my usual area of interest, but I am pretty excited to see what a visual maestro like Aronofsky can do with that world -- and for a great primer on the difficult life of a pro-wrestler, I highly recommend the documentary Beyond the Mat

According to Aronofsky, "Springsteen wrote a beautiful original song for the closing the film. called THE WRESTLER it is a wonderful acoustic piece. makes me choke up every time i hear it. he really captured the spirit of the film and mickey's character in the piece." The pairing of Springsteen with the film seems to be a perfect fit. Because, if anyone has the knack for singing about the travails of a downtrodden man, it's Springsteen (and that Oscar pedigree probably doesn't hurt either).

The Wrestler will premiere in Venice on September 5th (we'll have a review from Toronto), and is expected to arrive in theaters later this year.

[Thanks: /film]

It's no secret that Hollywood is sequel crazy, but it's gotten to the point where it's hard to tell at a glance if a movie is a sequel or something new all together. Here are five trailers I had to closely scrutinize before I could determine whether or not sequalization was occurring.

Fast & Furious
Yup, this one's definitely a sequel, the fourth installment in the series launched by 2001's The Fast and the Furious. First off I give the whole franchise kudos for having the originality to give each of the films its own title and not just slapping on an escalating series of numbers. Furthermore, despite never having seen any of the others in the series, this trailer piqued my interest. Vin Diesel and co-star Michelle Rodriguez are seen here hijacking a tractor trailer hauling multiple tankers of gasoline, and the action is downright spectacular. Granted, the almost subliminal lesbian make out scene doesn't hurt either, but I could get behind seeing this. Here's what William had to say on the trailer.

Sukyaki Western Django
At first glance one might think this was a belated sequel to the 1966 spaghetti western Django. In reality this is an ultra violent homage to the genre with Takashi Miike at the helm and with Quentin Tarantino appearing in a supporting role. I've seen a few of Miike's film's, but the one I remember best is the bizarre and brutal Ichi the Killer, so I'm curious to see how he does with a Western. The preview is a frenetic barrage of action scenes with plot details being of secondary concern, but there's some wild stuff here, including bullets being deflected by samurai swords much in the way a Jedi would deflect a laser blast with his light sabre. The film is shot in English, though according to Jeffrey's review of the film, the mostly Japanese cast's unfamiliarity with the language is a drawback. Still, this looks pretty cool. Sukyaki Western Django goes into limited U.S. release this weekend, so I don't imagine it will be long before it's available on DVD.

Just in case you have a heart of stone and weren't taken in by the awesome Ping Pong Playa poster that Erik posted earlier this month (which is to the right), two new clips have hit the web. To refresh your memories -- this is the story of a basketball-loving Asian American who has done everything he can to remove himself from his family's ping pong ways -- until an accident and some jerky ping pongers make him reevaluate things.

First up, over at Coming Soon, C-Dub (Jimmy Tsai) gets introduced to his mom's ping pong class after she gets in a car accident and can't teach. C-Dub is completely not into the thought of spending his time with these tykes, and is none too impressed when he is mistaken for his ping pong champion brother.

Meanwhile, over at MovieWeb, we get to see C-Dub get called out on his questionable behavior. See, to make this whole ping pong class more interesting, he's added betting to the mix, and the one tykes older, cute sister isn't impressed. Unfortunately, poor Free Willy gets blamed.

Ping Pong Playa hits theaters on September 5. In the meantime, check out last year's TIFF interview where Jimmy talks about his ping pong experience, and the review here.

Last year I saw Gracie, a movie about a teenage girl who wants to play high-school soccer in the late 1970s, when the game was considered a males-only sport in America, and faces a lot of opposition from her school. I finished my review with the line, "If it were football, would we be agreeing more with Gracie's opponents?" The Longshots gives us the opportunity to consider that question. Can we sympathize with, and cheer on, a girl who wants to succeed as a quarterback in an all-boys' football league? The answer is yes, because The Longshots focuses on characters and personal relationships and as a result, feels richer and more satisfying than the standard sports-genre film.

The story is simple and except for the girl-quarterback angle, old-fashioned in a Capra-esque way. Jasmine (Keke Palmer) is a middle-school loner and misfit in a small town hit by economic troubles. Her mom Claire (Tasha Smith) has to work longer hours at the diner -- dad ditched town and family several years ago -- and Jasmine is still too young to be left alone after school. So Claire pleads, nags and finally bribes her husband's brother Curtis (Ice Cube), an unemployed ex-football player, to keep an eye on his niece Jasmine. Of course they can't stand each other at first, but eventually Curtis discovers that Jasmine has an excellent throwing arm and teaches her how to be a quarterback. Meanwhile, the town's playground football team is languishing, and one thing they're missing is a decent quarterback, sooo ...